Exquisite Corpses

There was this game that the surrealists of the early 1900s used to play called “Exquisite Corpses” where they would fold a piece of paper in thirds in a way that you only see portion of the paper you are responsible for. One drawer knew they were drawing a head, another the body, and the third the legs. Once everyone has sketched their part, they unfold the paper to reveal the monster they have created. This is a sort of performance where the artist is also the audience. Each artist is performing for the other, trying to make the other artists laugh or react.

This collective narrative is similar. We broke up this piece into 4 parts: intro, middle, middle, end. Someone writes the introduction and then hands ONLY the last sentence to the next writer until we get our own exquisite corpse.

Justin | Performance is a moving target—just when you think you’ve defined it, it leads you down a different path. Our editorial conversations circled this idea, moving between energy metrics and the theater of human interaction, blurring the lines until we didn’t know which way was up. It’s a theme that refuses to be pinned down urging us to explore its many forms.

In the spirit of this complexity, we’ve decided to play a little game with you, dear reader. Inspired by the surrealist parlor game “exquisite corpse,” each editor has added their piece to this note without knowing where the last one would take it. It’s our way of performing for you, a playful leap into the unknown.

And now, the baton passes…

Nick | More than any other Olympic event, the relay holds an energy that captures our hearts and attention. There is a captivating power in the performance of athletes who typically compete as individuals and celebrate their personal triumphs collaborating to perform as a group, and the drama of the exchange of the baton. In this issue of Columns, each author takes a unique look at the concept of architectural performance and how that process mitigates diverse perspectives, personalities, professions, and peoples. In “ACTION! The Performance of Hands-On Design Studio Education” Nick Nepveux takes a closer look at how hands-on studios in architectural education “perform.” The article uses the analogy of the performing arts to reflect on the architect’s role in society throughout history, to critique issues of concern in architectural education, and to analyze how the performance of a hands-on studio at the University of Kansas began to address many of those concerns. 

Brian | As architects, it is essential that we engage in thoughtful discussions about the term “architectural performance,” especially here in Dallas, where urban design plays a pivotal role in fostering social interactions and strengthening community ties. Our work shapes the way people experience and interact with their environment. By focusing on “performance”, we create spaces that not only serve functional needs but also encourage meaningful connections. Dallas is at a crossroads, with a growing demand for public spaces that are “sticky”—places where people want to gather, linger, and engage with one another. By exploring architectural performance, we can better address the city’s challenges, such as over-reliance on automobiles, and design spaces that prioritize walkability and human interaction. Through collaboration with my colleagues at AIA, I aim to build thought leadership by initiating dialogue on how we, as architects, can shape Dallas’ future. Together, we can create a city that thrives on community, not just infrastructure, leading to a more connected and resilient urban fabric.

Beth | Lastly, achieving a resilient, connected city depends on designing for high performance at every level. By pursuing net-zero energy goals, repurposing existing structures, and capitalizing on the embodied carbon they hold, we honor our commitment to sustainability and urban vitality. Every thoughtful choice contributes to a healthier, more enduring urban landscape.